Games

ZA Critique: Kane & Lynch: Dead Men

A closer look at a solid take on a Michael Mann video game. Spoilers abound.

Kane & Lynch is an attempt to recreate the epic bank robbery from Heat while borrowing a few of the typical plot points from Michael Mann’s films. As in Heat and Collateral, this is a game about two dissimilar people at odds finding commonality. More specifically, it explodes the relationship between Robert DeNiro’s character and Kevin Gage (Waingro, the bearded guy DeNiro kills in the hotel). While the film is content to define the difference between these two men under codes of professionalism and brutality, the game confronts how flimsy a difference this actually is. Waingro may murder prostitutes and hostages, but how is that different from the people DeNiro shoots or the woman he abandons? Kane, depicted as the consummate professional, continues to stand by a code that has slowly destroyed his family and his own life. Lynch, relying on medication and prone to violent delusions, has no code at all. The way that their relationship develops throughout the game leads to their supposed differences slowly dissolving. I’m going to ignore the Gerstmann Gate fiasco for this breakdown of Kane & Lynch. Although the scandal may have made for good headlines, I don’t really see what it has to do with the actual game.

The game opens with Kane reciting a letter to his daughter on his way to Death Row. He writes, “As you know if you’ve read the papers, my life as a mercenary and all the pain I’ve caused, most of it is true. I should regret it all, I should be scared of dying, but I’m not. I can’t anymore. The only feeling I have left is regret that I’ll never get to know you.” This refusal to feel any guilt creates a kind of moral blindness in Kane. He wants his daughter to love him but is unwilling to acknowledge his own personal flaws that make him so unbearable. The game is literal about this: Kane is blind in his left eye just as he is blind to his own personal failings. This repressed guilt also comes up whenever you are wounded, the screen goes white and repressed memories will play until a squadmate rescues you. Kane’s wife screaming at him for keeping a gun in the house, children playing in a park, or Kane trying to stop himself from murdering people.

Lynch interrupts Kane’s letter monologue when a prison break occurs and Kane is freed. In terms of game design, the levels work like an organized Grand Theft Auto encounter with the police. Rather than have the game generate a steady stream of police assaulting you, it is a roller coaster of running from building to building while fending off the cops. One of the refreshing things about this being the premise of a "duck and cover" game is that the plot actually matches what you’re doing in the game. As Mitch Krpata points out about Gears of War 2, when your game design consists of ducking and crawling through a war zone it creates a dissonance with a story about being the ultimate badass. Kane & Lynch’s game design matches its plot because these are both scarred and tormented individuals. Kane has a broken nose, a blind eye, and scars that mark a person who has seen too much combat. Lynch is equally unimpressive as he is bald, overweight, and wears glasses. These are the kinds of people you’d expect to be ducking under cover just as much as you’d expect them to be up to no good.

The two chief complaints about the controls are that the camera is sluggish and the cover system is terrible. On the issue of the camera, what this complaint refers to is that the reticule moves slowly when you aim from the shoulder. It helps to consider the timing of the game’s release in regards to this design choice. Call of Duty 4 and Gears of War were the current smash hits, and they also relied heavily on aiming from the shoulder. The difference is that there was no slow down when you move to shoulder aiming in those games. Although technically the game was just relying on the exact same setup as the developer’s previous game Freedom Fighter, a lot of people try to play the game like they’re playing Call of Duty 4 or Gears of War, and it feels sluggish when you do so. You often don’t need to aim from the shoulder and these variables can be tweaked from the menu anyway.

The other complaint is about the cover system, which will automatically cause your character to drop down when you hit cover and also turns the camera around corners for you. Again, the source of the complaint mostly seems to be that it doesn’t working like Gears of War. All of these arguments boil down to a preferred method of control but blaming a game for not being like a different game seems a bit backwards. Once I broke myself of old habits while playing Kane & Lynch, the game worked fine for me.

The combat scenarios after the escape from Death Row continue to explore and test the relationship between the game’s two title figures. After the 7, a criminal organization Kane abandoned, kidnaps Kane’s family, they stick him with Lynch and a plot to steal a briefcase. The game’s tutorial then teaches the player by having them teach Lynch how to fight. The game tells you how to throw grenades, then you throw one, then Lynch mimics it until he understands this himself. It establishes an authoritative relationship for the player, making Lynch both distant and inferior to Kane and the player. The subsequent bank robbery and theft of the briefcase goes wrong when Lynch, while left in charge of the hostages, hallucinates and starts shooting them. In Co-Op mode the person playing Lynch will find their perspective distorted and all the hostages will literally look like cops to that player during these moments. Kane curses and swears at Lynch for being unprofessional once they escape, but, in the next level, the player has to kidnap a woman from a packed Tokyo nightclub. Once the bullets start flying, the player is stuck in a situation where they have almost no choice but to shoot a hostage themselves. The very moral stance that you criticize Lynch for in one level must be violated by the player in the next.

Kane exacerbates the situation by leaving Lynch alone with yet another kidnapped victim, resulting in Lynch losing control and accidentally killing her. Because we know Lynch is unstable, the repeat accident starts to shift the blame from Lynch to Kane’s irresponsible reliance on him. The downward spiral continues as Kane reports back to the 7 that he wasn’t able to recover the briefcase and the 7 kills his wife as a result. Sending his daughter away to “find someplace safe," Kane abandons her to get his revenge. Throughout these exchanges, it is Lynch that is constantly seeing the hiccups in Kane’s logic. He points out that he wasn’t entirely at fault for the second hostage incident, and he points out that Kane isn’t going to be able to help his daughter by abandoning her. Kane, still blind to his own flaws, mostly just tells Lynch to shut up.

Facing the constant criticisms from his squad of "Dead Men" and Lynch, the player’s position as the superior authority that began during the tutorial slowly comes into question. Kane’s desire for revenge becomes steadily more murky as he is forced to confront the fact that, like leaving Lynch with the hostages, he shares in the blame for his wife’s death. Were it not for the botched kidnapping and Kane’s constant reliance on violence as a solution, she would still be alive. The last third of the game loses a great deal of its appeal by having the levels involve a Civil War in Havana. For a game that differentiated itself by being a hard boiled crime thriller, these final moments feel like the very games Kane & Lynch stood apart from.

The game eventually forces the player to curb the urge to just shoot their way through every problem by having Kane's daughter be the one held hostage. If the player moves or tries to shoot the 7 while they have Jenny, they’re both gunned down. If they calm down and think up an alternative solution, they can escape.

The final level of the game echoes the decision made by Robert DeNiro in Heat. In the film, DeNiro chooses to finish off Waingro instead of walking away. In the game, Kane must choose between saving his daughter or saving his stranded men in Havana. To emphasize how trapped Kane is by his own criminal nature, the designers make either choice a hollow one. If you save Jenny, then her hatred for your own hypocrisy and refusal to care means she will despise you. If you save your men, redeeming yourself as a traitor, then Jenny will be shot and killed during the process. While Heat chose to emphasize that DeNiro’s own criminal code ended up robbing him of a decent life, Kane & Lynch forces the player to see the shallow life DeNiro would have had either way. Whether Kane saves his daughter or his men, he must still pay for his past crimes.

Music

The Best Metal of 2017

Painting by Mariusz Lewandowski. Cover of Bell Witch's Mirror Reaper.

There's common ground between all 20 metal albums despite musical differences: the ability to provide a cathartic release for the creator and the consumer alike, right when we need it most.

With global anxiety at unprecedented high levels it is important to try and maintain some personal equilibrium. Thankfully, metal, like a spiritual belief, can prove grounding. To outsiders, metal has always been known for its escapism and fantastical elements; but as most fans will tell you, metal is equally attuned to the concerns of the world and the internal struggles we face and has never shied away from holding a mirror up to man's inhumanity.

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From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Beware the seemingly merry shades of green and red that spread so slowly and thickly across the holiday season, for something dark and uncertain, something that takes many forms, stirs beneath the joyful facade.

Let's be honest -- not everyone feels merry at this time of year. Psychologists say depression looms large around the holidays and one way to deal with it is cathartically. Thus, we submit that scary movies can be even more salutary at Christmas than at Halloween. So, Merry Christmas. Ho ho ho wa ha ha!

1. The Old Dark House (James Whale, 1932)

Between Frankenstein (1931) and The Invisible Man (1933), director James Whale made this over-the-top lark of a dark and stormy night with stranded travelers and a crazy family. In a wordless performance, Boris Karloff headlines as the deformed butler who inspired The Addams Family's Lurch. Charles Laughton, Raymond Massey, Gloria Stuart, Melvyn Douglas and Ernest Thesiger are among those so vividly present, and Whale has a ball directing them through a series of funny, stylish scenes. This new Cohen edition provides the extras from Kino's old disc, including commentaries by Stuart and Whale biographer James Curtis. The astounding 4K restoration of sound and image blows previous editions away. There's now zero hiss on the soundtrack, all the better to hear Massey starting things off with the first line of dialogue: "Hell!"

(Available from Sony Pictures Home Entertainment)

2. The Lure (Agnieszka Smoczynska, 2015)

Two mermaid sisters (Marta Mazurek, Michalina Olszanska) can summon legs at will to mingle on shore with the band at a Polish disco, where their siren act is a hit. In this dark reinvention of Hans Christian Andersen's already dark The Little Mermaid, one love-struck sister is tempted to sacrifice her fishy nature for human mortality while her sister indulges moments of bloodlust. Abetted by writer Robert Bolesto and twin sister-musicians Barbara and Zuzanna Wronska, director Agnieszka Smoczynska offers a woman's POV on the fairy tale crossed with her glittery childhood memories of '80s Poland. The result: a bizarre, funy, intuitive genre mash-up with plenty of songs. This Criterion disc offers a making-of and two short films by Smoczynska, also on musical subjects.

(Available from Criterion Collection / Read PopMatters review here.)

3. Personal Shopper (Olivier Assayas, 2016)

In the category of movies that don't explain themselves in favor of leaving some of their mysteries intact, here's Olivier Assayas' follow-up to the luminous Clouds of Sils Maria. Kristen Stewart again plays a celebrity's lackey with a nominally glamorous, actually stupid job, and she's waiting for a sign from her dead twin brother. What about the ghostly presence of a stalker who sends provocative text messages to her phone? The story flows into passages of outright horror complete with ectoplasm, blood, and ooga-booga soundscapes, and finally settles for asking the questions of whether the "other world" is outside or inside us. Assayas has fashioned a slinky, sexy, perplexing ghost story wrapped around a young woman's desire for something more in her life. There's a Cannes press conference and a brief talk from Assayas on his influences and impulses.

(Available from Criterion Collection / Reader PopMatters review here.

4. The Ghoul (Gareth Tunley, 2016)

The hero (Tom Meeten) tells his therapist that in his dreams, some things are very detailed and others are vague. This movie tells you bluntly what it's up to: a Möbius strip narrative that loops back on itself , as attributed to the diabolical therapists for their cosmic purposes. Then we just wait for the hero to come full circle and commit the crime that, as a cop, he's supposedly investigating. But this doesn't tell us whether he's really an undercover cop pretending to be depressed, or really a depressive imagining he's a cop, so some existential mysteries will never be answered. It's that kind of movie, indebted to David Lynch and other purveyors of nightmarish unreality. Arrow's disc offers a making-of, a commentary from writer-director Gareth Tunley and Meeten along with a producer, and a short film from Tunley and Meeten.

(Available from Arrow Video)

​5. The Illustrated Man (Jack Smight, 1969)

When a young man goes skinny-dipping with a mysterious stranger (Rod Steiger) who's covered with tattoos, the pictures comes to life in a series of odd stories, all created by Ray Bradbury and featuring Steiger and Claire Bloom in multiple roles. Nobody was satisfied with this failure, and it remains condemned to not having reached its potential. So why does Warner Archive grace it with a Blu-ray? Because even its failure has workable elements, including Jerry Goldsmith's score and the cold neatness of the one scene people remember: "The Veldt", which combines primal child/parent hostilities (a common Bradbury theme) with early virtual reality. It answers the question of why the kids spend so much time in their room, and why they're hostile at being pulled away.

(Available from Warner Bros.)

6. The Hidden (Jack Sholder, 1987)


In one of my favorite action movies of the '80s, a post-Blue Velvet and pre-Twin Peaks Kyle MacLachlan plays an FBI agent who forms a buddy-cop bond with Michael Nouri while pursuing a perp -- a bodiless entity that plugs into the human id. In the midst of slam-bang action comes a pivotal moment when a startling question is asked: "How do you like being human?" The heart of the movie, rich in subtext, finds two men learning to embrace what's alien to them. In pop-culture evolution, this movie falls between Hal Clement's novel Needle and the TV series Alien Nation. On this Warner Archive Blu-ray, Sholder offers a commentary with colleague Tim Hunter.

(Available from Warner Bros.)

7. Twin Peaks: Fire Walk With Me (David Lynch, 1992)

Speaking of Twin Peaks, here we have a textbook example of a movie that pleased almost nobody upon its release but has now generated such interest, thanks in large part to this year's Twin Peaks revival, that it arrives on Criterion. A feature-film prequel to David Lynch and Mark Frost's original TV serial that answered none of its questions and tossed in a raft of new ones, the film functions as one of cinema's most downbeat, disruptive and harsh depictions of a middle-class American teenage girl's social context. Sheryl Lee delivers a virtuoso performance that deserved the Oscar there was no way she'd be nominated for, and she wasn't. The extras, including a 90-minute film of deleted and alternate takes assembled by Lynch, have been available on previous sets.

(Available from Criterion Collection)

8. The Green Slime (Kinji Fukasaku, 1968)

Incredibly, Warner Archive upgrades its on-demand DVD of a groovy, brightly colored creature feature with this Blu-ray. As a clever reviewer indicated in this PopMatters review, what director Kinji Fukasaku saw as a Vietnam allegory functions more obviously as a manifestation of sexual tension between alpha-jock spacemen competing for the attention of a foxy female scientist, and this subconsciously creates an explosion of big green tentacled critters who overrun the space station. While we don't believe in "so bad it's good," this falls squarely into the category of things so unfacetiously absurd, they come out cool. There's a sublimely idiotic theme song.

(Available from Warner Bros.)

If the idea is that earth, water, fire, air and space constitute the core elements of life, then these five songs might seem as their equivalents to surviving the complications that come from embracing the good and enduring the ugly of the Christmas season.

Memory will never serve us well when it comes to Christmas and all its surrounding complications. Perhaps worse than the financial and familial pressures, the weather and the mad rush to consume and meet expectations, to exceed what happened the year before, are the floods of lists and pithy observations about Christmas music. We know our favorite carols and guilty pleasures ("O Come All Ye Faithful", "Silent Night"), the Vince Guaraldi Trio's music for 1965's A Charlie Brown Christmas that was transcendent then and (for some, anyway) has lost none of its power through the years, and we embrace the rock songs (The Kink's "Father Christmas", Greg Lake's "I Believe In Father Christmas", and The Pretenders' "2000 Miles".) We dismiss the creepy sexual predator nature in any rendition of "Baby, It's Cold Outside", the inanity of Alvin and the Chipmunks, and pop confections like "I Saw Mommy Kissing Santa Claus".

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